At the beginning of 1962, Britain barely figured as an influence on the
rest of the world of popular music. By the end of the year the fuse was
lit for an unprecedented explosion of creativity that would turn the
entire music business upside down. At this stage, "pop music" -
especially "pop music" in the shape of rock'n'roll - was still regarded
as a second-rate and largely disposable noise, even within the
entertainment industry itself. That year, a bunch of spotty blues, and
rhythm & blues fans from Liverpool and London would set in motion a
process of change that transformed this perception dramatically and
swiftly. The Beatles and the Rolling Stones would create a new, artistic
language uniquely suited to reflect the concerns, hopes, and fears of
their generation.

Rolling Stones gather to plot 50th anniversary bash

In
October 1961, nineteen-year-old father of three, Lewis Brian
Hopkin-Jones (born 28 February 1942), and a fellow blues enthusiast,
Dick Hattrell, attended a concert by Chris Barber's Jazz Band in their
sleepy, conservative hometown, Cheltenham. During the interval, one of
the members of Barber's band - the guitarist Alexis Korner - gave his
own blues performance. Such was the purist attitude amongst the small
community of blues cognoscenti in Britain, that Korner and his previous
outfit had been sacked from their regular gig at the London Blues and
Barrelhouse Club when they dared to introduce electric amplification.
According to Barber, ever the supporter of fresh ideas (Bill Wyman calls
him "virtually a founding father" of the British rock scene), Korner
was the only British blues player who was amplifying his guitar at the
time. Brian Jones was blown away by what he saw. Already known around
town as a bit of a lad and a talented guitarist, he had no trouble being
admitted backstage to speak to Korner and exchange telephone numbers.
Two months later, Brian descended on the Korners in London, staying
several days and spending most of his time perusing the older man's
record collection. Discovering, amongst others, Elmore James, Howlin'
Wolf and Robert Johnson, he purchased an electric guitar as soon as he
was back in Cheltenham and began to practise with an obsession matched
only by his pursuit of female companionship. Indeed, the influence he
would later exert over the nascent Rolling Stones might not just have
been in terms of music, but also in terms of attitude and lifestyle.

Brian
Jones's father, Lewis, was an aeronautical engineer and his mother,
Louisa, a piano teacher. He grew up in the quiet environment of a
comfortably well-off family, whose attitudes had been shaped by memories
of the War itself and the uncertainty of the post-War austerity years.
He was clever, sporty and popular in school. Aged fifteen, he joined a
skiffle band, playing washboard. He liked trad jazz -- aka Dixieland,
the dominant style of dance music in Britain at the time -- until he
discovered the saxophonist Charlie Parker. And then, Brian Jones went
off the rails in spectacular fashion. Discipline became an anathema to
him. Refusing to go to university, he was sacked from a long series of
jobs, usually for helping himself to the contents of the till. Friends
and acquaintances despaired of him, so wantonly did he abuse their
generosity. He even featured in the national press as an example for the
wayward and amoral ways of modern youth, when one of his underage
lovers became pregnant. If Brian Jones cared, he certainly didn't show
it, and he most definitely didn't change his ways. According to
perspective he was a damned nuisance, a peril to society, or a charming,
modern-day libertine.

Gallery: Stones in pictures

On
the morning of 17 October 1961, eighteen-year-old Mick Jagger (born 26
July 1943) was waiting on the platform of Dartford railway station for
the train to take him the 16 miles into central London, where he was a
mediocre student at the highly respected London School of Economics. He
was clutching a Chuck Berry album, Rockin' at the Hops, and The Best of
Muddy Waters under his arm. Shortly afterwards, seventeen- year-old
Keith Richards (born 18 December 1943) arrived on the same platform on
his way to Sidcup Art College. The two young men recognised each other
from primary school. Studying the records on the train, Richards became
even more envious of Jagger when he heard that he had actually seen
Buddy Holly live in concert.

Time: Celebrating 50 years since they "start it up"

Two
years earlier, Keith had received his first guitar as a gift from his
mother. He was the only child of Bert, a factory worker, and Doris,
whose mother had been the mayor of the Municipal Borough of Walthamstow
(which is now part of the London Borough of Waltham Forest). Keith was a
loner who was often bullied and the older he got, the more difficult he
found it to accept the teachers' authoritarian rule. Music ran on his
mother's side of the family; his grandfather had toured Britain with a
big band, Gus Dupree and his Boys. Bert, on the other hand, was not keen
on his son's growing interest in the guitar, especially after he was
expelled from school for a variety of misdemeanors. As in school, two
different worlds came up against each other in the family. "My parents
were brought up in the Depression, when if you got something, you just
kept it and you held it and that was it." Richards wrote in his
autobiography. "Bert was the most unambitious man in the world.
Meanwhile, I was a kid and I didn't even know what ambition meant. I
just felt the constraints. The society and everything I was growing up
in was just too small for me." By the time Richards arrived at art
college -- it was the inspired idea of an art teacher to send him there
-- he was deeply engrossed in music. Having started with Little Richard
and Elvis, he had moved on via Buddy Holly, Eddie Cochran, Marty Wilde
and the like, to Muddy Waters, Howlin' Wolf and Lightnin' Hopkins.
British art colleges, then as now, have always been a fertile breeding
ground for musical ideas. It was the one side of his education Keith
relished.